Directed by Abhijit Sinha | Review by Triptayan Chatterjee
[dropcap]T[/dropcap]he never-ending question of what is the next shows the success of a short film in its basic structure. There is no doubt that the Silent film INCOMPLETE by Abhijit Sinha goes with this universal definition. What is the consequence of a basic instinct of human being, comparing it with a festival ritual at par with each other and appropriate editing, tells us how attractive and valuable a short film can be? The linear single line plot with mild acting under the focus and frame of the experienced camera has made the film a wonderful creation, not only from the approach of any film festival or film market segment but also from the approach of artistic creation. INCOMPLETE is a comprehensively complete film.
The cinematic theme of human instinct that is to fall in love is narrated here in a short but comprehensive span. No branches of thoughts, the single conflict and forecast of a triangular relation though traditional but captured uniquely. A sub-line of the theme that is a Hindu puja ritual from starting to an immersion of the idol is drawn in sync. The immersion of the idol has at last been compared to the immersion of the dream of a lover who just fell in love. Here the wonderful representation of film language has been depicted. Film language is rarely seen in today’s film, particularly those who are just for storytelling. But in INCOMPLETE the delicate explanation of the gradual failure of a lover says the words of film language here, which has brought a unique dimension to the film.
The thought-provoking script explains the rising and fall of a feeling of Sudipto for Mira. He falls in love with Mira by just seeing her on the other side of the road. Every day at a particular time he used to see her and his love, at first sight, grows by geometric progression. He had two friends. One black car used to lift her from the roadside every day.
But at last, when the Dussera arrives, he found her with his roommate in the car in a lovemaking position. His feeling also turns into a failure with a wonderful parallel comparison. This small story tells us the silent rise and fall of a graph in the central character of the film.
The cinematography of the film appropriately follows the storyline. Editing is just unique. Particularly image by image, shot by shot, cut and re-cut, woven wonderfully to depict the parallelism between the immersion of the idol and the feeling. This was really a challenging job as the pacing of the events were entirely dependent upon editing. It can unhesitatingly be said that editing gives the real meaning of the story as like as the appropriate direction. Praveen’s acting is extremely realistic. Amita and Sujoy have also brought a dimension with their acting far from any kind of melodrama. The background music is apt and appropriate. One more important presentation in the film is the music. Actually, it narrates the whole story of the film. The music particularly explains the character and actions of the lead cast.
A little bit rectification could have made the film more prominent and attractive. This wonderful film is shot at daylight when it is in outdoor. But the camera could have captured the day in a more clear light. The music also could have been a little shorter. But these are negligible. Next time it can be expected in a better line.
Art always has a unique definition. The fundamentals of Art applies to all its branches. Whether it is literature or painting or filmmaking. The silent film has more responsibility to be more artistic, as only the film language speaks there. The film INCOMPLETE has been successful in this venture and followed the real definition of cinematic theory. Again, it should be told that the film INCOMPLETE is a complete film in a real sense.
Triptayan is a filmmaker looking for a different horizon. Earlier a journalist Triptayan has done intensive research on film language and made different documentaries so far. He is now concentrating upon feature film in a vast landscape. Professionally a teacher, Triptayan has also passion for making films threaded with the international and universal thoughts.